Two talk descriptions at QGCon and Practice

Sorry that this blog's been suffering a bit as of late. I've been busy.

My teaching load is ramping up (which is good, having more day job is nice) and I've been devoting most of my free time toward working on games, transcribing Level With Me vol. 2 at Rock Paper Shotgun, and writing / researching for two talks I'm delivering -- one at QGCon, and the other at Practice.

Here are the two blurbs:

"Queering Game Development" @ QGCon, Oct 27 in Berkeley, California
Queer and feminist critiques of games often rely on high level conceptual approaches to games -- that is, analyzing games as cultural products or media objects. The hegemony's response is to go technical and go low-level, to argue that their game engine could not support playable women characters, or to argue production schedules allowed no time to support queer content, etc. Ignoring temporarily how those are bullsh*t reasons, what if we chased them into the matrix? Perhaps we could disclose the politics inherent in game engine architectures, rendering APIs, and technical know-how. If we learn about (and *practice*) actual game development, then we can articulate alternative accounts of game development at a low level, and achieve more comprehensive critiques of games.

"Well-Made: Back to Black Mesa" @ Practice, November 17 in New York City
The modern AAA single player first person shooter consists mainly of two things: shooting faces in implausibly realistic levels with a pistol, machine gun, shotgun, sniper rifle, or rocket launcher -- and obeying NPCs when they trap you inside a room so they can emit voice-over lines at you. Half-Life's legacy in the latter is well-mythologized in history, but what if we re-visit Half-Life as a masterpiece of technical design, enemy encounters, AI scripting, weapons tuning, and architecture? Spoiler: we'll find out it's a pretty well-crafted game.

(I imagine the "Well-Made" as a counterpart to the "Well-Played" or something.)

Radiatorpalooza 2013: "Technical criticism"

The Fall games conference season is in the works. (Get excited.) Here's my current schedule, subject to change...

September 14th: No Show Conference (Boston, MA)
October 3rd: Indiecade West (Los Angeles, CA)
October 26th: QGCon (Berkeley, CA)

In my talks at No Show and QGCon, I'll be talking about game levels and approaches to close-reading them, emphasizing their technical construction as a locus of analysis. The talks will be slightly less political than last year, focusing more on what I think good "meat and potatoes" / "basic analysis" might look like -- criticism that considers games as not just play systems and media objects, but also as technical artifacts engineered within certain constraints. (Of course, code is political too, but... baby steps.)

Uncharted looks and plays the way it does partly because of how its 3D engine works (texture memory constraints for consoles, deferred + forward renderer, no level of detail system), how Naughty Dog organizes its artists (does one artist "own" a level? outsourcing procedures?), and how level designers work (mostly in Maya, no in-house editor?) Yes, it also exists within AAA shooter culture and cribs freely from Indiana Jones pulp adventures, but all video games are also digital artifacts that run on some sort of code. How do technical contexts shape aesthetic contexts, and vice versa? Answering that question is traditionally called "game development," but I think effective game criticism can do much of the same work.

You do not have to be a programmer to understand (on a basic conceptual level) what a game engine is doing and how that has changed over the years.

BRB. GDC Europe.

Blog updates are on the backburner for this week... I'm currently in Cologne, partying the only way Europeans know how / crunching on the last touches on my slides. I recently ran through the whole thing and I came in at just under 50 minutes, so I'm pretty happy with how it's going.

If you'll be at GDC Europe, come see my talk on Tuesday at 5:30 in Congress Saal 2, 4th level. I don't know if I'm getting recorded, but if I am I'm sure it'll be in the GDC Vault or something.

Wish me luck!

The shape of crime and escape.

From "Payday: The Heist"

I went to another BLDGBLOG / Studio-X event: "Breaking Out Breaking In." This time, it was a panel with FBI agents, crime experts, and architects, all focusing on heists: what does it mean to break into a bank and how should we approach bank design?

As I sat there, I pondered a much, much, much more important question: how does it affect the ways we design video games and levels about heists. How should we abstract the heist?

"A People's History of the First Person Shooter" at the No Show Conference at MIT.

If you'll be in the Boston area, come see me (and a bunch of smart people) talk about games at the No Show Conference running from July 14th to July 15th at MIT. Hopefully there'll be some kind of livestream or webcast thing available. I'll fill you in on those details when I get them.

My talk is called "A People's History of the First Person Shooter."

Now, I love stuff like 7DFPS, but I disagree with some of the reasoning behind it -- that the FPS genre, in particular, is creatively dead and requires an injection of indie ingenuity. That's wrong; indies have been working in the FPS space for nearly as long as the FPS genre has existed, and continue to make amazing innovative work.

It just plays into the fact that the popular history of the genre is largely a company history, written by the big winners.

My goal is to outline an alternate narrative of game developer history, to talk about the need and methodology for a game developer history, and to explicate some currents of thought running through the cutting edge of first person design in the indie scene.

(If you're in the New York City area instead, I highly recommend attending the annual Come Out and Play festival and the annual NYC MP3 Experiment, both at Governor's Island this coming weekend.)

Rule Databases for Contextual Narrative... and spelling bees.

Valve's Elan Ruskin gave a fantastic talk at GDC 2012 on using "Rule Databases for Contextual Dialog and Game Logic" -- basically, the implementation behind the dialogue response system in Source games, most recently used in Left 4 Dead 2 and DOTA 2. I'm surprised more people haven't picked up on it because I think it presents some really effective research on procedural narrative systems.

A lot of game logic / narrative resembles a flowchart, especially with the advent of visual scripting systems like Unreal's Kismet or Twine -- resulting in this deeply entrenched concept of branching structure. Authoring and changing these individual branches is usually very expensive.

Text of my "Gay Rant" at Games for Change 2012

I spoke at Games for Change 2012. It was very well-received, and I'm so relieved because I wrote and re-wrote this speech like 20 times, revising it constantly in the nights before the festival. Here's the full text, though I ended up flubbing some of the lines as well as running a few seconds over.

Hi, I'm Robert Yang. I'm an indie game developer as well as a practicing homosexual.

"How to “Get Better”: Approaches to LGBTQ-relevant Video Games" at Games for Change Festival 2012

So on Tuesday, I'll be speaking at the 2012 Games for Change Festival at NYU about gay stuff in video games. Me and MIT-Gambit darling Todd Harper were originally going to tag team it, but as the schedule got finalized, the logistics for Todd zipping down here got less tenable, so now I'm just going to be dancing on my own.

I've been scheduled in a 5 minute time slot labeled "Rants" on Tuesday at 12:15 noon, on the main stage. That's just 5 minutes to foam at the mouth about heterosexual tyranny!

It's been difficult writing this talk because I don't really know the demographics of the audience here -- from what I can grok, it's mostly government / NGO education groups, some private sector education people, and the odd sprinkling of AAA game industry. (That means no Mass Effect jokes; that means an entire audience will lack fundamental video game literacy for a talk about video games; that means I'm screwed.)

But, uh, we'll see how it goes.

Anna Anthropy: book release + lecture @ NYU Game Center, March 29th @ 7 PM

Anna Anthropy's new book "Rise of the Videogame Zinesters," sums up a lot of contemporary indie scene thinking and contextualizes it in history / current practice. I'm impressed in the ways that it never talks down to the reader, but still worry that only "gamers" will deeply understand Anna's account of aesthetics when it gets down to the details of video games and meaning-making. But if I were ever to teach a liberal arts course on video games, this would definitely be on the reading list: I think it's a really great primer / manifesto for the growing "game design as pastime" school of indie thought.

If you live in or near New York City, make sure you RSVP for the book release / talk at the NYU Game Center. The food is awesome, the environment is swanky, and I'm sure Frank Lantz will have some lovely questions for her.

(DISCLAIMER: I'm in this book.)

NYC Game Scenesters: Erik Wolpaw talk next Thursday

ATTENTION! If you're in the NYC area, you should RSVP for this talk with Erik Wolpaw on Thursday -- like, right now. You definitely won't be able to stroll in, and even if you do, you'll miss out on free croissant sandwiches.

It's open to the public. Go.

"The format for the evening will be a brief guided play-through of Portal 2 with Erik, followed by an interview and general discussion moderated by Game Center Interim Director Frank Lantz. The audience is encouraged to join the discussion. Please bring questions about Portal, game writing, criticism, narrative and the overall subject of games in general."

And the NYU croissant sandwich things are pretty awesome. Get there early if you expect any otherwise I'm going to eat them all.

Should We Keep Ignoring Sports Games? (Bogost: "No.")

(source photo by Scott Ableman)

In his talk "What is a Sports Game?" at "FROG 2010" (never heard of it!), renaissance man of game design theory Ian Bogost cracks a few eggs of knowledge on you about sports games. (Since not all of us have an hour to spend watching this, I've extracted the main talking points below:)

Our current, incredibly underdeveloped theory of sports games is this: sports games are simulations. We watch professional sports on TV, then go on to play the licensed game with licensed properties and likenesses of professional players and John Madden's licensed voice saying licensed things with a sportscast-style user interface and presentation. Just compare a still from an ESPN sportscast and a screenshot and the resemblance, from the HUD to the camera angles, is uncanny.

If we're to say they're simulations, we have to think about the act of simulation; specifically, the "thing" one simulates must be a stable, discrete thing in order to simulate it.

But modern soccer as we know it (or "football" as the rest of the silly world calls it) has transformed through hundreds of cultures, variants, rulesets... It's not stable. We don't just plug some VGA cables into a rulebook and get a "simulation." The Mayan version of "football" existed for millenia; who's to say our "football" is more "football-ish" than their version of football? Thus, sports are largely originless, and only exist as long as we're willing to repeat playing them over and over.

Chris Hecker's talk at NYU Game Center, 18 November 2010

So me and a bunch of people got to play Spy Party at the NYU Game Center. The food was pretty good too. (And the poster for this event is stunning.) Altogether, a classy affair.

If you're not sure what the game is all about, there are plenty of write-ups that you should read first. After the public playtest, we listened to Chris Hecker talk for the better part of an hour. Here's my write-up / notes from the talk:

* * *

First Chris Hecker apologized a lot for being unprepared and stuff. Then he started talking. (Pretty much everything here is paraphrase.)

Most games have you constantly moving. In Counter-Strike, for example, you're constantly adjusting your trajectory, your view angle, etc... but in Spy Party, constantly moving / fidgeting means death. The idea here is that video games should also be about performance; sometimes your playthrough is just "good enough" and you live with your mistakes, you improvise. The key to being a Spy is moving with confidence; be Zen. (Though NPCs also randomly fidget too, just to fuck with the sniper.)

But right now, there's a big problem with Spy Party -- a master Spy cannot perform a mission if a merely decent Sniper is watching. Ideally, a master Spy should wipe the floor with a decent Sniper, regardless, but that isn't the case. Once the Sniper learns a few heuristics, the game goes from heavily favoring the Spy to heavily favoring the Sniper.